italian baroque part 2

Annibale Carracci

Palazzo Farnese ceiling

c. 1600

An example of the

continuing influence of

Classicism, but with a bit

more naturalism, clarity,

and emotion than in the

Renaissance

Giovanni Battista Gaulli

Triumph of the Name of

Jesus

1676-1679

Di sotto in su (as seen

from below)

A more dramatic approach in which

the ceiling of the church appears to

open up to the heavens and the

condemned are falling down into the

viewer’s space

Caravaggio

Bacchus

1595-1596

Caravaggio’s work represents a breakthrough. It is more emotional and clear than that of his contemporaries and perhaps more naturalistic than the Council of Trent ever intended.

Caravaggio, Calling of St. Matthew, Contarelli Chapel, c. 1600

Tenebrism: brightly lit figures against a black background, a dramatic technique apparently invented by Caravaggio

Caravaggio, Martyrdom of St. Matthew (Contarelli Chapel), 1599-

1600

Caravaggio

Inspiration of St. Matthew

(Contarelli Chapel)

c. 1602-1603

Contarelli Chapel

Rome

Caravaggio

Death of the Virgin

c. 1601-1606

Caravaggio

Entombment

1605

…versus Pontormo, Entombment, 1525-1528

Artemisia Gentileschi

Judith and Maidservant

with the Head of

Holofernes

1625

Caravaggisto (plural:

Caravaggisti)=follower of

Caravaggio

His teneberism and simple,

dramatic compositions inspire a

whole new generation of artists

throughout Europe.

Gentileschi

Judith and Holofernes

1612-1613

Gentileschi

La Pittura

(Allegory of Painting)

1630